Mark Anthony Myrie, better known to his fans as Buju Banton, is no stranger to the world of dancehall reggae. Buju Banton emerged on the dancehall scene in the early 90's. His characteristic rougher than rough voice rocked dancehalls all over the world. Since he took the dancehalls by storm with early hits like Batty Rider, the controversial Love Me Browning and it's answer version Love Black Woman, the pulsating Bogle and Big It Up, he managed to remain a position as one of Jamaica's top dancehall artists. His debut album Mr. Mention (Penthouse, 1992), produced by hit producer Donovan Germain, earned Buju more number one singles than any other Jamaican artist including Bob Marley. Soon Buju put himself in the spotlights of the international music industry and his second album Voice Of Jamaica (Mercury, 1993) established him in urban America featuring tracks like Deportee, Operation Ardent and the safe-sex anthem Willy (Don't Be Silly).
The increasing violence on Jamaica in the mid nineties caused a reaction by artists such as Tony Rebel, the late Garnett Silk, Luciano, Capleton, Sizzla and also Buju Banton who started to teach the youths about Rastafari and positivity instead of guns and badness. Buju's anti-violence anthem Murderer, which was written after the brutal murder on his friend and fellow deejay Panhead, is regarded as one of the songs that caused a new awareness for reality in the dancehall. The song is also featured alongside key tracks like the spiritual 'Til I'm Laid To Rest and the acoustic Untold Stories on the innovative album 'Til Shiloh (Loose Cannon, 1995), which is regarded as an absolute classic.
Buju's musical story unfolds with even greater maturity throughout the release of Inna Heights (Penthouse/VP Records/Island, 1997). This album ranges from African choral chants on African Pride and deep roots reggae on Hills And Valleys to hardcore dancehall on Love Dem Bad and the spiritual ballad Destiny. Inna Heights had even been nominated for a prestigious Grammy Award. Buju continued this musical variety on the album Unchained Spirit (Anti/Epitaph, 2000) which featured dancehall anthem Pull It Up with Beres Hammond, the commanding Mighty Dread and 23rd Psalms featuring Roy 'Gramps' Morgan of roots reggae group Morgan Heritage.
After nearly three years since the release of Unchained Spirit, Buju Banton returns with Friends For Life, his second album for the Epitaph subsidiary Anti Inc.. Produced by some of the finest producers in the business such as Donovan Germain, Bobby Digital, Sheldon 'Calibud' Stewart, Steven 'Lenky' Marsden, Troy Rami, Jammy 'Jam 2' James and Buju himself, Friends For Life showcases eighteen tracks. Featuring some of the finest musicians in the business like Sly Dunbar, Robbie Lyn, Dean Fraser, Steven 'Lenky' Marsden, Steely & Clevie and the Firehouse Crew, the album includes a variety of musical styles ranging from sensitive ballads, sweet lovers rock and African influenced rhythms to roots reggae, hardcore dancehall and even some hiphop/r&b influenced tracks, all showing Buju mastering every style.
The albums kicks off with Paid Not Played, a hiphop flavoured dancehall track which finds Buju riding the rhythm in his distinctive style showing his appreciation of the opposite sex. The song is produced by Troy Rami of Black Shadow Records, responsible for Sean Paul's chart success with Gimme The Light. On the same girls topic you will find Tra La La on the popular Diwali rhythm, without any doubt the hottest dancehall rhythm for the year 2002. The rhythm track was created by Steven 'Lenky' Marsden, the keyboard player in Buju's Shiloh band and also one of Jamaica's best studio musicians. The mood is changed into sweet lovers rock by the Bobby Digital produced One To One on which Buju confesses his love to a girl.
Marcus Mosiah Garvey, one of Jamaica's National Heroes and founder of the Black Star Liner Company had a huge influence on the Rastafari doctrine. Garvey's ideas of Black awareness and repatriation to Africa are reflected in an excerpt of one of his speeches which is followed by the powerful and inspiring Up Ye Mighty Race, a statement for equal rights and justice and a call to stand up for your rights. The beautiful and spiritual vibe of Maybe We Are is emphasized by its haunting trumpet. The song is a cry for one love and unity even though we are all different people with different colors and speaking different languages. The acoustic All Will Be Fine features the Sons & Daughters Choir and is a song of hope and positivity. Mama Africa is a cover version of the Peter Tosh original and is a tribute to the African continent.
The Donovan Germain produced track Hooked On The Love on the China Town rhythm and Look Good (Spectacular) on the Peeny Peeny rhythm are both using a classic rhythm track from the vaults of legendary producer King Jammy. Look Good (Spectacular) is even produced by Jammy 'Jam 2' James, a son of King Jammy. Both tracks find Buju sitting on the rhythm like a jockey on a horseback and take you back to the days when the early digital dancehall sound of Steely & Clevie ruled Jamaica. Get It On features the sweet voice of Wayne Wonder in a modern dancehall vibe. In the early '90's it was Wonder who introduced a young Buju to producer Donovan Germain and since then Wonder appeared on nearly every Buju Banton album. Nadine Sutherland can be heard on What Am I Gonna Do featuring the dancehall drum patterns of the legendary drummer Sly Dunbar. The pulsating and marching hardcore rhythm of Lame Thing adds more hardcore dancehall flavour to the album.
The hiphop/r&b influenced title track Friends For Life is all about the importance and beauty of true friendship. The excellent reggae singer/songwriter Beres Hammond and ace rapper Fat Joe are both featured on Good Times (Aye Aye Aye) which deals about having a good time with your girl. Damn represents the hiphop sound of today featuring Cool & Dre followed by the funky and easy to sing-a-long La Da Di Da.
Buju's love for ska music, the energetic forerunner of reggae, is reflected by the party tune Feeling Groovy which is a remake of the Don Drummond classic instrumental track Eastern Standard Time, recorded for producer Arthur 'Duke' Reid. The dreamy Pensive Mood finds Buju singing over a jazz and blues influenced rhythm track. Finally, the anti-violence song Mr. Nine, on the rhythm used by reggae crooner Gregory Isaacs for his 1981 hit song Tune In, is produced by Sheldon 'Calibud' Stewart, the stepson of producer Bobby Digital.
With Friends For Life Buju Banton delivers yet another masterpiece to his excellent track record.
HHHH
Source: http://www.anti.com/artist.php?id=86580&bio=full |
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